Toward a social landscape

CONTEMPORARY PHOTOGRAPHERS
TOWARD A SOCIAL LANDSCAPE

BRUCE DAVIDSON LEE FRIEDLANDER GARRY WINOGRAND
DANNY LYON DUANE MICHALS EDITED BY NATHAN LYONS

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in 2011 with funding from

LYRASIS Members and Sloan Foundation

http://www.archive.org/details/towardsociallandOOIyon

TOWARD A SOCIAL LANDSCAPE

BRUCE DAVIDSON LEE FRIEDLANDER GARRY WINOGRAND
DANNY LYON DUANE MICHALS EDITED BY NATHAN LYONS

HORIZON PRESS, NEW YORK, IN COLLABORATION WITH
THE GEORGE EASTMAN HOUSE, ROCHESTER, NEW YORK

BKWERSITY OF FLORIDA LIBRARIES

This current book from the George Eastman House of
Photography was prepared on the occasion of the exhibi-
tion, "Toward A Social Landscape, " which opened at the
George Eastman House in December of 1 966. I am indebted
to the photographers for their cooperation: Bruce David-
son, Duane Michals, Lee Friedlander, Danny Lyon and
Garry Winogrand.

For their assistance in the preparation of the exhibition
and the monograph, I would like also to thank the follow-
ing: the Staff of the George Eastman House, with special
thanks to Alice Andrews, Assistant Curator of Extension
Activities, who acted as my assistant; Thomas Barrow, Cura-
torial Assistant; Robert Fichter, Curatorial Assistant; Robert
Bretz, Assistant Curator of Collections; Carl Sesto, Museum
Assistant; and Daniel Andrews.

1966 by the George Eastman House of Photography,
Rochester, New York. All rights reserved. No part of this
book may be reproduced in any form, by mimeograph or
any other means, without permission in writing from the
publisher. Designed by Nathan Lyons. Library of Congress
Catalog Card No.: 66-30698. Printed in the United States
of America.

INTRODUCTION " we are to confront the meaning of contemporary pho-

NAJHAN LYONS

tographic expression devoid of the confusions and approxi-
mations of past terminology, then let us establish a work-
ing premise by asking: was a pepper to Edward Weston or
a photogram to Moholy-Nagy less real than a breadline to
Dorothea Lange?

What becomes implicit is that each photographer had a
specific point of view which is to be understood within the
context of the pictures they chose to make. While the con-
tent of their work varied to a large degree, their commit-
ment as picture makers has been generally acknowledged.
The fact that each point of view may not bring forth a like
response for a given individual is obvious. What must be
considered, however, is the confusion caused by using pho-
tography as a pawn in the controversy: what constitutes
the meaning of reality in pictures? Our discourse concern-
ing this matter has fragmented the photographic community
into reverently biased schools of thought, and by doing so
has retarded a much needed dialogue concerning ideas
which are essential to an understanding of photographic
expression.

If we pursue this line of reasoning further, then there is
an additional question which must be asked: do evidences
of a natural landscape have greater aesthetic value than
evidences of what we might term a man-made landscape?
Picture makers have continuously attempted to perceive
relationships within their environment. As a result many
have become increasingly conscious that these environ-
mental relationships of objects involve associations with
form on other than purely literal terms.

Photography has achieved an unprecedented mirroring
of the things of our culture. We have pictured so many
aspects and objects of our environment in the form of pho-
tographs (motion pictures and television) that the composite

of these representations has assumed the proportions and
identity of an actual environment. Within this environ-
mental context the giving of a pictured significance to
ordinary ob|ects through photography has contributed
greatly to a shifting graphic vocabulary of the twentieth
century. Aside from the subjects and objects themselves,
the structural disposition of the picture itself has undergone
a definite change which is also, in part, attributable to the
development of photographic representation.

This broadening of the source of experience could imply
that our concept of "landscape " should be revaluated from
the classical reference point of natural environment to
include as a referent the interaction of a "nexus between
man and man, and man and nature." Gyorgy Kepes in The
New Landscape further clarified this consideration when
he stated, "We make a map of our experience patterns, an
inner model of the outer world, and we use this to organize
our lives. Our natural 'environment' — whatever impinges
on us from outside — becomes our human landscape' — a
segment of nature fathomed by us and made our home."

This might mean that the relationship of objects within
this landscape could assume a greater degree of signifi-
cance than we now choose to recognize or understand. In
the past we might have assessed the work of the photog-
raphers in this book by using the term documentary or
social realism, etc. While this might have helped to guide
and organize our thinking, we should recognize that we
have only been discussing on very general terms the ac-
knowledgment of a kind of sub|ect matter reference which
barely recognizes the challenging question, what have these
men — these photographers — contributed as experience to
our lives?

The reference point, "Toward A Social Landscape," is
not intended to establish a neo-category. There is still too

much confusion about what little there is that we think we
understand about photography. What I am suggesting,
however, is that our concept of environment and landscape
expand on the terms that it must. If we lose the meaning
of an expanding reference point, one which does not at-
tempt to define the existence of things, but tends to estab-
lish a greater interrelatedness of things, then understanding
might exist on less temporal terms. If we choose forms to
convey something beyond the identity of form (form then
only becomes a referent), then by this visual language
which we have implied that we speak and understand, we
would recognize the significance of photography on idio-
graphic terms, as representing ideas and not providing
illustrations for words.

Therefore the qualitative meaning of object relationships
seen in the context of a more total landscape would mean
a shifting of their denotative function. If certain kinds of
ob|ects establish reference points and the essential char-
acteristics of the object remain constant but the environ-
ment we see them in changes, then the object attains a
symbolic identity modified by the environment, or the ob|ect
itself might modify the environment.

If one considers Joe Rosenthal s photograph, "Flag Rais-
ing on Iwo Jima" and contrasts it with Robert Frank's pho-
tographs in The Americans where he employs the use of
the flag in a variety of contexts, the metaphoric use of the
object becomes evident.

For a number of years in lectures throughout the country,
I have suggested the need for an evaluation of what might
be considered authentic photographic forms. One which I
have paid particular attention to, and which has undergone
extensive research, has been the question of the "snap-
shot." What is generally implied is the state of picture
awareness of the rank amateur. Interestingly enough the

snapshot's significance in modifying our attitude toward
picture content and structure has been quite remarkable.
The accidents of millions of amateurs devoid of a picture
vocabulary — which produced an outpouring of multiple
exposures, distortions, unusual perspectives, foreshortening
of planes, imbalance — has contributed greatly to the visual
vocabulary of all graphic media since before the turn of
the century.

Within the context of the development of photography,
the first conscious effort made to recognize the vitality of
this picture form was the photographer, Alfred Stieglitz.
Not only his article, "The Hand Camera — Its Present Im-
portance," written in 1897, but quite often in the leading
visual journal of the time, Camera Work, he captioned
many of his photographs, "Snapshot." While this fact may
be inconsistent with a traditional interpretation of possibly
one of the most myth understood photographers of our
time, too much evidence exists to attribute this considera-
tion to mere speculation.

The mind conditioning aspects of visual persuasion are
so much in evidence today that we should not overlook
how we have been conditioned to look at and understand
pictures. The incorporation of concern has developed from
defensive ground, tucked away and cataloged: documen-
tary, snapshot, realism, pictorial — a hodge-podge of ter-
minology that has provided a refuge for the inadequate
as well as a misunderstanding of ihe significant.

I do not intend to suggest that this view that I have
adopted is shared by the photographers represented in this
book. Most of them avoid establishing a verbal reference
to their work. Friedlander on one rare occasion simply
stated, "I'm interested in people and people things." Wino-
grand in an interview with Mary Orovan in U.S. Camera
suggested, "For me the true business of photography is to

capture a bit of reality (whatever that is) on film ... if,
later, the reality means something to someone else, so much
the better."

It was in part my research into the snapshot as an au-
thentic picture form which led me to develop the exhibi-
tion from which this book is derived. During my first discus-
sion with Duane Michals, the issue was central to our con-
versation. In a letter to me some months later he expressed
the following:

"Because of my involvement with my photographs, it is
difficult for me to really see them objectively. Talking about
them is like talking about myself. The only real idea that I
have about them is that they are essentially snapshots. For
snapshots, I feel, often have an inherent simplicity and
directness that I find beautiful. The roots of my photo-
graphs are in this tradition.

"However, I think that the photographer must completely
control his picture and bring to it all his personality, and in
this area most photographs never transcend being just snap-
shots. When a great photographer does infuse the snap-
shot with his personality and vision it can be transformed
into something truly moving and beautiful."

I do not find it hard to believe that photographers who
have been concerned with the question of the authentic
relevance of events and objects should consciously or
unconsciously adopt one of the most authentic picture
forms photography has produced. The directness of their
commentary of "people and people things" is not an at-
tempt to define but to clarify the meaning of the human
condition. The reference point of each photographer is
presented as a separate portfolio. The combined statement
is one of comment, observation, aluminum, chrome, the
automobile, people, objects, people in relation to things,
questioning, ambiguity, humor, bitterness and affection.

BRUCE DAVIDSON

Born Oak Park, Illinois, 1933. Became actively inter-
ested in photography, 1943. Studied photography with
Ralph Hattersley at Rochester Institute of Technology,
followed by studies in philosophy, and graphic arts with
Alexey Brodovitch, Herbert Matter and Joseph Albers at
Yale University. After serving in United States Army,
free-lanced in Paris and New York. Joined Magnum
Photos, Inc., as Associate Photographer, 1958; elected
to membership, 1959. Awarded Guggenheim Fellowship
to produce photographic study of youth in America,
1962. Traveled widely producing numerous photo-essays
including "The Widow of Montmartre," "The Clown,"
"Brooklyn Gang," "England," "Scotland," and "Wales."
Taught photography, School of Visual Arts, 1964; private
workshops, 1965-66. One-man exhibitions: Art Institute of
Chicago, 1965; George Eastman House traveling exhibi-
tion, 1965; San Francisco Museum of Art, 1965; Museum
of Modern Art, 1966.

Group exhibitions:

1958 Museum of Modern Art.

1959 "Photography at Mid-Century," George Eastman
House.

1960 Museum of Modern Art.

1962 "Ideas In Images," Worcester Art Museum.

1964 Contemporary Photographs from the George
Eastman House Collection 1900-1964," New York
World's Fair.

Museum of Modern Art.

"Sight and Insight: A Contemporary Portfolio of

Creative Photography," IBM Gallery.

1965 Profile of Poverty," Pan Am Building.

White House Festival of the Arts.
"About New York Night and Day 1915-1965,"
Gallery of Modern Art.
"Peace on Earth," Hallmark Gallery.
1966 Underground Gallery.

"Selma Last Year," Action Theatre, Lincoln Center.
"The John Simon Guggenheim Memorial Founda-
tion Fellows in Photography," Philadelphia Col-
lege of Art.

"American Photography: The Sixties," Sheldon
Memorial Art Gallery.

"Contemporary Photography Since 1950," pre-
pared by the George Eastman House in collabora-
tion with the New York State Council on the Arts.
"Toward A Social Landscape, George Eastman
House.

Published:

1959
1960

1961
1962

1963

1964
1966

Leica Photography (Mar)
The Queen (periodical)
Photography Annual
Infinity (Mar and Apr)
Photography Annua/
Ideas In Images (exhibition catalogue)
Contemporary Photographer (Summer)
"What Photography Means to Me," Popular Pho-
tography (May)

Encyclopedia of Photography, Vol. 6
Popular Photography (Mar)
The Bridge, by Gay Talese

American Photography: The Sixties (exhibition cat-
alogue)

The Negro American, edited by T. Parsons and K.
Clark, introduction by President Johnson
"The Bruce Davidson Show,'' by David Vestal,
Infinity (Aug)
Bard College (Winter)

The John Simon Guggenheim Memorial Founda-
tion Fellows in Photography (exhibition catalogue)

Film:

1966 "On Your Way Up," for Fashion Institute of Tech-
nology.

Plate

Page

1. Bruce Davidson by Dan Budnik, 1959.

9

2. Muskrat Trapper, N. J., 1966.

10

3. Maine, 1965.

11

4. Hackensack, N. J., 1966.

12

5. Coney Island, 1966.

13

6. Yosemite, 1966.

14

7. Yosemite, 1966.

15

8. Yosemite, 1965.

16

9. Central Park, 1966.

17

10. Central Park, 1966.

18

11. Central Park, 1965.

19

■

*. ■

12

14

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LEE FRIEDLANDER

Born Aberdeen, Washington, 1934. Began photograph-
ing, 1948. Studied photography at Art Center, Los
Angeles, and with Edward Kaminski. Received Guggen-
heim Fellowships for photographic studies of the chang-
ing American scene, 1 960 and 1 962. One-man exhibition,
the George Eastman House, 1963. To Spain, 1964. Artist-
in-residence, University of Minnesota, Spring quarter,
1966.

Group exhibitions:

1960 Milan.

1963 Photographs for Collectors," Museum of Modern
Art.

"Photography 63 An International Exhibition,"
George Eastman House.

1964 "The Photographers Eye," Museum of Modern Art.
"Contemporary Photographs from the George
Eastman House Collection 1900-1964," New York
World's Fair.

1966 "Contemporary Photography Since 1950," travel-
ing exhibition prepared by George Eastman House
in collaboration with the New York State Council
on the Arts.

"The John Simon Guggenheim Memorial Founda-
tion Fellows in Photography," Philadelphia Col-
lege of Art.

"Toward A Social Landscape," George Eastman
House.

Published:

1960 "Lee Friedlander,
America (June)

by James Thrall Soby, Art in

1963 "The Little Screens," by Walker Evans, Harper's
Bazaar (Feb)

Photography 63 (exhibition catalogue)
Current, No. 36 (April)
Contemporary Photographer (Fall)

1966 The John Simon Guggenheim Memorial Founda-
tion Fellows in Photography (exhibition catalogue)

Plate

12. Self-portrait, 1966.

13. Rome, 1964.

14. New York, 1965.

15. New York, 1963.

16. Stafen Island, 1963.

17. New York, 1963.

18. New York, 1962.

19. n.d.

20. New York, 1965.

21. Cincinnati, Ohio, 1962-63.

22. New York, 1962.

Page

21
22
23
24
25
26
27
28
29
30
31

^aggfcatJMJbwiJia^-" M

:;:-:

39

40

42

43

DUANE MICHALS

Born McKeesport, Pennsylvania, 1932. Received Bachelor 39 Tennessee Williams, 1966. 50

of Arts degree, University of Denver. To Russia as tourist, 40. Automobile interior, 1966. 51

began phoiographing, 1958. Free-lance photographer, 41. Restaurant booth, 1964. 52

New York City. One-man exhibitions: Underground 42. Hotel room, 1965. 53

Gallery, 1963, 1965. 43. Bar, 1966. 54

44. Subway interior, 1966. 55
Group exhibitions:

1959 Image Gallery.

1966 "American Photography: The Sixties," Sheldon
Memorial Art Gallery.

* Contemporary Photography Since 1950, " travel-
ing exhibition prepared by the George Eastman
House in collaboration with the New York State
Council on the Arts.

"Toward A Social Landscape, George Eastman
House.

Published:

1964 Du(Feb)

Infinity (June)

Contemporary Photographer (Spring)

1966 American Photography: The Sixties (exhibition cat-
alogue)

"Duane Michals: People and Places," by Martin
Fox, Print (Mar Apr)

Plate Page

34. Duane Michals by Fred Gorree, 1965. 45

35. Kiev, 1958. 46

36. Leningrad, 1958. 47

37. Edward Albee & Company, 1962. 48

38. Warren Beatty, 1966. 49

45

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46

4R

53

GARRY WINOGRAND

Born New York City, 1928. Began photographing while
in Air Force during World War II. Studied painting at
City College of New York, 1947-48; Columbia University,
1948. Studied photography with Alexey Brodovitch at
New School for Social Research, 1951. One-man exhibi-
tion, Image Gallery, 1 960. Awarded Guggenheim Fellow-
ship for photographic studies of American life, 1964.

Group exhibitions:

1955 "The Family of Man," Museum of Modern Art.

1957 "70 Photographers Look at New York," Museum
of Modern Art.

1959 "Photographers' Choice," Workshop Gallery.

1963 "Photographs for Collectors," Museum of Modern
Art.

"Photography 63, 'An International Exhibition,"
George Eastman House.

"Five Unrelated Photographers," Museum of Mod-
ern Art.

1964 Contemporary Photographs from the George
Eastman House Collection 1900-1964," New York
World's Fair.

1965 White House Festival of the Arts.

"Recent Acquisitions," Museum of Modern Art.
"About New York, Night and Day," Gallery of
Modern Art.

1966 "Contemporary Photography Since 1950," travel-
ing exhibition prepared by the George Eastman
House in collaboration with the New York State
Council on the Arts.

"The John Simon Guggenheim Memorial Founda-

tion Fellows in Photography," Philadelphia College

of Art.

Underground Gallery.

"Toward A Social Landscape,' George Eastman

House.

Published:

1954 "Garry Winogrand," by Arthur A. Goldsmith, Jr.,
Photography (Oct)

Photography Annual

1955 Photography Annual

1956 Photography Annual

1963 Photography 63 (exhibition catalogue)
1966 Garry Winogrand," by Mary Or o van,
U. S. Camera (Feb)

Plate

Page

45. Garry Winogrand by Judy Teller, 1 965. 57

46. Los Angeles, 1964. 58

47. San Marcos, Texas, 1964. 59

48. San Marcos, Texas, 1964. 60

49. Stanford, California, 1964. 61

50. Albuquerque, New Mexico, 1958. 62

51. San Francisco, 1964. 63

52. Los Angeles, 1964. 64

53. Utah, 1964 65

54. New York City, 1960. 66

55. New York City, 1959. 67

57

59

61

64

67

53

GARRY WINOGRAND

Born New York City, 1928. Began photographing while
in Air Force during World War II. Studied painting at
City College of New York, 1 947-48; Columbia University,
1948. Studied photography with Alexey Brodovitch at
New School for Social Research, 1951. One-man exhibi-
tion, Image Gallery, 1 960. Awarded Guggenheim Fellow-
ship for photographic studies of American life, 1964.

Group exhibitions:

1955 "The Family of Man," Museum of Modern Art.

1957 "70 Photographers Look at New York," Museum
of Modern Art.

1959 Photographers' Choice," Workshop Gallery.

1963 "Photographs for Collectors," Museum of Modern
Art.

"Photography 63 An International Exhibition,"
George Eastman House.

"Five Unrelated Photographers," Museum of Mod-
ern Art.

1964 Contemporary Photographs from the George
Eastman House Collection 1900-1964," New York
World's Fair.

1965 White House Festival of the Arts.

"Recent Acquisitions," Museum of Modern Art.
"About New York, Night and Day," Gallery of
Modern Art.

1966 Contemporary Photography Since 1950," travel-
ing exhibition prepared by the George Eastman
House in collaboration with the New York State
Council on the Arts.

"The John Simon Guggenheim Memorial Founda-

tion Fellows in Photography," Philadelphia College

of Art.

Underground Gallery.

"Toward A Social Landscape, George Eastman

House.

Published:

1954 "Garry Winogrand," by Arthur A Goldsmith, Jr.,
Photography (Oct)

Photography Annual

1955 Photography Annual

1956 Photography Annual

1 963 Photography 63 (exhibition catalogue)
1966 ' Garry Winogrand," by Mary Orovan,
U. S. Camera (Feb)

Plate

Page

45. Garry Winogrand by Judy Teller, 1965. 57

46. Los Angeles, 1964. 58

47. San Marcos, Texas, 1964. 59

48. San Marcos, Texas, 1964. 60

49. Stanford, California, 1964. 61

50. Albuquerque, New Mexico, 1958. 62

51. San Francisco, 1964. 63

52. Los Angeles, 1964. 64

53. Utah, 1964 65

54. New York City, 1960. 66

55. New York City, 1959. 67

57

59

67

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